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Books : Literature & Fiction : Authors, A-Z : ( Q ) : Queneau, Raymond
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A twentysomething bus rider with a long, skinny neck and a goofy hat accuses another passenger of trampling his feet; he then grabs an empty seat. Later, in a park, a friend encourages the same man to reorganize the buttons on his overcoat. In Raymond Queneau's Exercises in Style, this determinedly pointless scenario unfolds 99 times in twice as many pages. Originally published in 1947 (in French), these terse variations on a theme are a wry lesson in creativity. The story is told as an official letter, as a blurb for a novel, as a sonnet, and in "Opera English." It's told onomatopoetically, philosophically, telegraphically, and mathematically. The result, as translator Barbara Wright writes in her introduction, is "a profound exploration into the possibilities of language." I'd say it's a refresher course of sorts, but it's more like a graduate seminar. After all, how many of us are familiar with terms such as litote, alexandrine, apheresis, and epenthesis in the first place?
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Impish, foul-mouthed Zazie arrives in Paris from the country to stay with Gabriel, her female-impersonator uncle. All she really wants to do is ride the metro, but finding it shut because of a strike, Zazie looks for other means of amusement and is soon caught up in a comic adventure that becomes wilder and more manic by the minute. In 1960 Queneau's cult classic was made into a hugely successful film by Louis Malle. Packed full of word play and phonetic games, Zazie in the Metro remains as stylish and witty as ever.
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We Always Treat Women Too Well was first published as a purported work of pulp fiction by one Sally Mara, but this novel by Raymond Queneau is a further manifestation of his sly, provocative, wonderfully wayward genius. Set in Dublin during the 1916 Easter rebellion, it tells of a nubile beauty who finds herself trapped in the central post office when it is seized by a group of rebels. But Gertie Girdle is no common pushover, and she quickly devises a coolly lascivious strategy by which, in very short order, she saves the day for king and country. Queneau's wickedly funny send-up of cheap smut—his response to a popular bodice-ripper of the 1940s—exposes the link between sexual fantasy and actual domination while celebrating the imagination's power to transmute crude sensationalism into pleasure pure and simple.
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Pierrot Mon Ami, considered by many to be one of Raymond Queneau's finest achievements, is a quirky coming-of-age novel concerning a young man's initiation into a world filled with deceit, fraud, and manipulation. From his short-lived job at a Paris amusement park where he helps to raise women's skirts to the delight of an unruly audience, to his frustrated and unsuccessful love of Yvonne, to his failed assignment to care for the tomb of the shadowy Prince Luigi of Poldevia, Pierrot stumbles about, nearly immune to the effects of duplicity. This "innocent" implies how his story, at almost every turn, undermines, upsets, and plays upon our expectations, leaving us with more questions than answers, and doing so in a gloriously skewed style (admirably re-created by Barbara Wright, Queneau's principle translator).
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Fiction. First published in France in 1937, this brilliant, moving novel is about the devastating psychological effects of war, about falling in love, about politics subverting human relationships, and about life in Paris during the early 1930s amid intellecturals and artists whose activities range from writing for radical magazines to conjuring the ghost of Lenin in seances. Raymon Quneau (1903-1976) has been one of the most powerful forces in shaping the direction of French fiction in the past fifty years. His other novels includes THE LAST DAYS, PIERROT MON AMI, AND SAINT GLINGLIN.
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Seated in a Paris café, a man glimpses another man, a shadowy figure hurrying for the train: Who is he? he wonders, How does he live? And instantly the shadow comes to life, precipitating a series of comic run-ins among a range of disreputable and heartwarming characters living on the sleazy outskirts of the city of lights. Witch Grass (previously titled The Bark Tree) is a philosophical farce, an epic comedy, a mesmerizing book about the daily grind that is an enchantment itself.
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"profound, complex, likable" novel, tr B Wright
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The Oulipo was founded in 1960 by a group of leading French writers and mathematicians, it still meets regularly some thirty five years later, making it one of the longest lived and productive literary groupings ever.The Oulipo’s original aim was to inquire into the possibilities of combining literature and mathematics, but this field of study was soon expanded to include all writing using self-imposed restrictive systems. Remarkable Oulipian works have been written by Queneau, Calvino, Perec, Roubaud, Mathews (to mention only those familiar to English-speaking readers).
The group publishes a series of small booklets for circulation among its friends. This anthology reproduces six of them in English facsimile, from among the earliest (no. 3, 1976) to the most recent (no. 70, 1995); it provides the English reader with a taste at least of one of the most sustained and intriguing literary investigations of recent years.
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The first paperback edition of the last of Queneau's novels to be translated into English. Saint Glinglin is a tragicomic masterpiece, a novel that critic Vivian Mercier said "can be mentioned without incongruity in the company" of Mann's Magic Mountain and Joyce's Ulysses. "By turns strange, beautiful, ludicrous, and intellectually stimulating" (as Mercier goes on to say), Saint Glinglin retells the primal Freudian myth of sons killing the father in an array of styles ranging from direct narrative, soliloquy, and interior monologue to quasi-biblical verse. In this strange tale of a land where it never rains, where a bizarre festival is held every Saint Glinglin's Day, Queneau deploys fractured syntax, hidden structures, self-imposed constraints (no words with the letter x until the final word of the novel), playful allusions, and puns and neologisms to explore the most basic concepts of culture. In the process, Queneau satirizes anthropology, folklore, philosophy, and epistemology, all the while spinning a story as appealing as a fairy tale.
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The first English translation of essays from one of the twentieth century's most intriguing avant-garde writersCompiled from two volumes of Raymond Queneau's essays (Bâtons, chiffres et lettres and Le Voyage en Grèce), these selections find Queneau at his most playful and at his most serious, eloquently pleading for a certain classicism even as he reveals the roots of his own wildly original oeuvre. Ranging from the funny to the furious, they follow Queneau from modernism to postmodernism by way of countless fascinating detours, including his thoughts on language, literary fashions, myth, politics, poetry, and other writers (Faulkner, Flaubert, Hugo, and Proust). Translator Jordan Stump provides an introduction as well as explanatory notes about key figures and Queneau himself.
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This digital document is an article from The Review of Contemporary Fiction, published by Review of Contemporary Fiction on September 22, 1997. The length of the article is 2083 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: From 'Children of Clay.' (excerpt, translated from 'Les Enfants du limon')
Author: Raymond Queneau
Publication: The Review of Contemporary Fiction (Refereed)
Date: September 22, 1997
Publisher: Review of Contemporary Fiction
Volume: v17 Issue: n3 Page: p31(5)
Article Type: Excerpt
Distributed by Thomson Gale
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